International projectionist (Jan-Dec 1935)

Color Systems Must Recognize Projection Requisites By GERALDINE GEOGHEGAN MOTION pictures in natural color seem to have developed in a somewhat jerky fashion. It is quite common among the various concerns dealing with color to have an expert on one or two subjects concerning the many problems arising in natural color photography, but, generally speaking, these experts are concerned only with their particular specialized knowledge and can offer little or no help when outside problems upset their calculations. If the color is produced by an optical arrangement, an expert in optics is employed; if by dyes, a specialized color printer, etc. It is quite possible that these men can, and do, produce motion pictures of astounding beauty and fidelity to color under the standardized conditions of the laboratory; but when these prints are used commercially considerable trouble arises. When we consider that color is not part or parcel of the article observed but merely its capacity to absorb and transmit such part of the light waves that fall upon it, we are up against our first problem — the spectral quality of the "taking" light. If the latter wavers in wave-length in the slightest degree, the object being photographed changes its hue. At the same time the human eye is an accommodating organ and has a very short memory, so that if such changes be gradual, it is impossible to notice them while under the influence of altered light; but, if the same observer and object again be placed under the correct light with an image taken under deficient light, the error can be detected immediately. It is common knowledge that it is very difficult to produce artificially a light with a spectral approximation to daylight of sufficient volume without heat and noise. Even if this be done, the Renewed activity in color film production directs attention to this medium as a means for providing the box-office "punch" generally held to be necessary to a reawakening of public interest in the art. Heretofore, production processes have monopolized the attention of color film technicians, and projection has been considered only in connection with a means to compensate for inherent deficiencies in a given process. Directly opposed to this procedure is the opinion expressed in the accompanying article, which holds that no color film system may be successful until it provides specifically for the projection process. producer of color films is immediately up against another problem, the spectral quality of the "projecting" light. After all, a color transparency is merely a collection of light filters that absorb and transmit, according to their power, the light that is projected through them. Therefore, we can deduce from this, that to obtain pictures on the screen in natural color, the "projecting" light and the "taking" light must be one and the same spectrally. Compensation may be attempted, but all filters lower the volume of illumination. Let us say, for the sake of argument, that we have our taking and projecting lights spectrally balanced: minor problems now arise, such as the absorption and transmission of the screen, the influence of color in the decoration of the theatre, and the general quality of the approach lights. Some attempt should be made to screen all interior lights so that they approximate in quality that of daylight where neutral color films are to be shown, and only subdued schemes of decoration should be permitted. The problem of voltage plays a part in projecting that does not arise with monochrome work. It would be quite possible for a motion picture in natural colors to be shown in one theatre with exceedingly pleasing and beautiful results, while its exact duplicate might be shown elsewhere with distorted and repulsive colors, owing to a drop in voltage. One has to consider that on the stage, where living actors and actresses appear, the colors of the dresses and the lights that play upon them are under the control of the producer. He views the effect The Only Thing That Counts' vital link between production and exhibition, and unless the standard The placing of an image on the screen is the last phase of this business, yet, in fact, it is the only thing that counts. I do not care what technical theories are involved, the only thing that interests the exhibitor is what he shows to his patrons — the finished job as it looks on his screen. Projection is the From I. P., September, 1932 of projection is such as to get out of the picture everything that there is in it, we might just as well close up shop and go out of business. M. A. Lightman, Past-President Motion Picture Theatre Owners of America as the audience sees it, and is certain that no radical change can occur; but the producer of motion pictures in color is by no means in that happy position. Monochrome pictures, once passed by their director and shown under ordinary standardized conditions, will please the man in the street, even if the expert technician will notice an error or so. But with natural color pictures it appears that a private view is necessary in every theatre in which each motion picture is shown, to see that no unforeseen spectral change has occurred. It was found that many theatres were not suited for the sound pictures; some even had to be scrapped, and many altered. Why not, then, take the same precautions with color? Undoubtedly color pictures will take the place of monochrome; but only by a very strict attention to what may be looked upon as minor details, can success be obtained. A change in gradation of tones in a monochrome picture can occur without any appreciable notice on the part of the spectator, but a change in color will be seen by every two out of three. The normal vision is trained to recognize objects not only by shape, but by color; it is not really familiar with these in monochrome, and therefore allows false gradation to pass unnoticed. The writer has purposely ignored such problems as fringing, etc., as these are inherent in the processes themselves, and has adopted, merely as a theme, the difficulties that confront the producer, even though we have a perfect process of motion picture in color. It is doubtful whether such a process is yet on the market commercially, whence the path for color cinematography is beset with many thorns and snags. But at the moment it is felt that too much thought and research work are being directed to emulsions, optics, etc., which, although of themselves invaluable, are useless unless the same care be taken with light, etc. It would be a better box-office proposition to have color fantastically unreal than to show (as has been done in many cases) true color degraded and falsified by bad technic. From I.P., January, 1933 [29]